Review by Sheri Bicheno for MPM
The final day of Download!
After a delay of opening the arena due to the weather conditions, what better way to start than with an upbeat kick off from German sensation Lord of The Lost opening the main stage.
These guys are humble, they’re fun and they did everything to make the effects of mother nature turn to an advantage.
Whirling effortlessly through The Future of a Past Life with a dynamic mix of metalcore meets gothic meets glam, the chugging basslines of Klass with the melodic synth styles of atmospheric ripples are what catapults this track into the crowd.
Chris’s vocals swim between sonorous clean singing to stunning roars and input so much depth of moods along with the melodic riffs and beautiful keys.
Drag Me To Hell is a fan favourite and gives an electronica industrial side of Lord of the Lost with some injection of 80’s style rock vocals and beautiful synth keys to turn up the power within the track.
Niklas is such an eclectic drummer in the live setting of these guys too. The intricate tempo changes switch between beats that remind me a little of Type O Negative in some ways – that hard hitting, gothic beat and then drifts out of that into brutal tech fuelled power.
This was a great way to start the day off and put me in a great mindset to battle my way through the mud to the Opus stage…
Since New Zealand leviathan Alien Weaponry came about with album Tu in 2018, I have totally been sucked in by these guys.
They released that album as a young band and have all the stunning motions of creating bigger things. Keeping their culture as the centre point in their music, unleashing it in waves of melodics, thrash and groove notes draws their audience in and I honestly dont think there are enough Maori artists that are going from strength to strength as these guys are.
With the intro of chants and elements of Haka filling the air, the crowd is buzzing.
“Let’s get this place moving!” Lewis De Jong shouts before Tūranga Morgan-Edmonds launches into a filthy, chuggy bass fuelled introduction to Holding My Breath.
The riffs are stonking and thrashy and work bloody beautifully with the crushing momentum that Henry De Jong wields behind the kit.
From groove fuelled chugs of Raupatu to raw energy displayed through cultural chants and brutal riffs on Kai Tangata, the energy by Alien Weaponry is flawless. The vocals range from clean powerful notes morphing to trembling roars.
WHAT an aura!
I’d settled next over to the Apex stage to catch Horror inspired Creeper having heard so many great things about them.
The stage set with dancers and flames rising to the rafters, Creeper appeared in gothic make up and bloodied mouths and delivered an intriguing performance made up of glam rock, gothic vibes and even punk elements.
Cry To Heaven was the perfect intro with the choral beginning and choppy riffs that has an 80’s rock style beat.
Vocalist Will Gould skits across the stage with energy and swag – his vocals are clean and have a beautiful range that smooths over theatrical tones, like a vampiric Billy Idol meets David Bowie.
The guitarwork here is beautiful with it’s winding, melodic solos and huge riffs that entwine with the catchy drum beats.
Down Below has an upbeat vibe that injects some fun blends into the set whilst the last track Lovers Led Astray is offered up as a heavier, electronic number that creates an atmospheric glam gothic style that flirts with choral edges.
There’s a dual drum interlude in the middle of this set which gives a display of killer skill that play off against eachother.
This set was mega absorbing.
Kept right in my tracks, I’d reviewed the very recently released album From Hell I Rise, I was waiting with anticipation to witness some of it in it’s live setting from Kerry King’s new line up.
Of course it would be nothing without the thrashing riffs of guitar intros and a stunning backlight show to catapult the show straight into brutal realms.
Starting with the album’s intro Diablo gave a surge of energy into the masses that were gathered to watch.
A stunning beefy range of melodic riffs smash their way across the stage. The signature styles of Kerry King and Phil Demmel uniting together create a suspense filled moment for all hell to unleash…
And here it comes, the seventh circle of Hell with Where I Reign which is a breakneck speed thrash track with glimmers of harmonies. The riffs set against the speed of Paul Bostaph’s jawdropping beats and hard hitting blasts behind the kit give way to some serious amount of killer solos.
Mark Osegueda has a killer set of vocals here that are slightly different to what he is renowned for. He takes on old school thrashy barking vocals that takes on a higher pitch that drag down old school growls to deliver a splintering range.
Idle Hands served as a Slayer layered track full of nostalgic riffs and unforgiving drum beats. .Ktyle Sanders performs face melting bassnotes here that twist up tempos between chuggy headbanging sections to the faster paced frenzy of the track.
Slayer fans would have been happy as the unmistakable riffs of Raining Blood echoed from the stage. I could see despite the sludge beneath them, bodies flying everywhere in the pits and bodysurfers floating towards the front.
The drums here were immaculate and took us down a trip to memory lane.
Leaving the Apex stage a little early to catch the Download Secret Set – it was packed all the way out of DogTooth. And calmly in his signature sparkling white top, Winston McCall casually roams on stage with the hugest smile on his face.
Thank the gods these rumours were true! Parkway Drive certainly is a band you’d expect at either main or second stage but I love how humble it is that they were at DogTooth to surprise everyone… and knowing how these guys are from seeing them before, everyone would be leaving this set hyped.
Joined on stage by the rest of the guys, we’re launched into the bedlam that is Glitch. An energy fuelled heavy tirade of riffs fall down and Winston’s barking vocals echo in the air.
Parkway Drive’s make up mixes with brutal metalcore and tech infused riffs and beats to raise the energy at the DogTooth stage.
Prey has the whole place moving with it’s melodic moments and anthemic stunning beats is delivered with Winston fist bumping fans along the barrier.
Wild Eyes is the most fan favourite here where the crowd joins in on the chanting introduction before launching into the most stunning harmonies from Jeff and Luke.
Here, Winston’s brutal vocals aid the anthemic elements to this track and not only has it got brutal and uplifting riffs, Ben’s skillfful beats crash with the chugging basslines of Jia and end their show with the best display of breakdowns.
Back to the Apex stage, is a special moment for me. I’ve been listening to this next band since my early teens and came home from school everyday to turn these guys up LOUD.
I’d even sneaked my Walkman into school to give them a cheeky listen during classes – and for every reason under the sun, I’d not seen them live before this moment. My last childhood band to tick off my bucketlist.
Bringing one of the best set’s of the day, good spirits high, Limp Bizkit was full of banter, good vibes and a new type of energy.
With an intro to Sweet Home Alabama before taking to the stage, the crowd was so big, the footpaths were blocked and everyone was brimmed right to the edges of the field.
Fred Durst strolls out to the stage with some proper good vibes, complete with bucket hat, introduces DJ Lethal and the rest of the band to the crowd and then…
“You came here to party like it’s 1999”
Wes Borland launches into the familiar crunching riffs of Break Stuff and the crowd positively SCREAMS the lyrics and vibe back to the stage.
Fred is full of energy, layering all of that passion into his vocals.
That section in Break Stuff where we’re all kept in suspense before the “I hope you know i pack a chainsaw” section Sam Rivers’ lowering basslines teases the crowd for a build up.
“I brought the sunshine from California” Fred addresses the crowd as the weather has been kind to us during this set so far.
“I wanna get this place poppin’. If this is your first time at a Limp Bizkit concert then this is how we go…”
Sam and Wes’ build up erupts into that “BREAK YOU’RE F*CKING FACE TONIGHT!” which displays some of the most incredible power I’ve seen on stage from any artist.
John Otto’s skills behind that kit are jawdropping. The fury of energy he gives during this moment is pure raw and has Fred jumping all over the stage.
Hot Dog is by all means a non anthemic song but it’s totally one of Limp Bizkit’s anthems – and it has the crowd shouting back the lyrics so loud, it nearly drowns out the band.
A short unexpected interlude of Oasis’ Wonderwall brings unity across Download before knocking straight into Rollin’ – which is flawlessly delivered then blended into a rendition of Proud Mary’s chorus.
Fred gives a lesson how to party like it’s 1999 by demonstrating humorous positions that put him into a slumping pose and shouts out “IF ONLY WE CAN FLYYYY”
And then My Generation smashes into the crowd.
This is one of the most fun tracks that’s delivered with high energy and stunning techniques. The nostalgia is REAL.
Fred stops the gig to alert security to someone getting hurt and makes sure the person is OK before continuing.
I f*cking LOVE Limp Bizkit.
I nipped over to the Opus Stage who had probably one of the worst clashes going on with main stage due to the delay in the arena opening as legend Corey Taylor was just finishing his own version of Spongebob Squarepants and then launched right into an absolutely striking acoustic version of Slipknot’s Snuff.
It’s Corey Taylor. The man never falters in his deliverance of a wonderful show. This was of course a heart shattering version of Snuff and it’s setting being only Corey at the helm with different musicians made this version into another level of raw and powerful moods.
The fact that Corey had to pull out of some shows only a day or so before Download due to ill health and he delivered this as powerful at it was is a testament to his and his bands musicianship.
With a heartfelt thank you to the crowd of Download, Corey explains that 21 years ago he first came to Download to perform and that he is lucky to have the support that Download go-ers constantly show him, his leaving song was Duality which, had a refreshing edge to it being played by a totally new band. He didn’t try to make it a Slipknot show, just a pure raw, powerful unification with long loved fans.
As Corey Taylor had finished, I got wind of Limp Bizkit leaving the stage with a second round of Break Stuff and thrashed myself around to it.
Back on Opus, this was another crowd that was spilling out so far into the other stage, I’m, not sure how everyone managed to fit! Metal giants Machine Head had given the headliner a run for their money here.
With what can only be described as a sonic boom, the melodic fuelled riffs of Imperium positively shook the ground as Robb Flynn’s gnarly vocals echoed into the abyss.
“Get your fists in the air!” Rob commands the energy of the crowd and is met with thousands of fists punching the air and people headbanging together.
The bodysurfers and circle pit was in full force down the front, mud kicked up and everyone sucked into the feel good, brutal moods that Machine Head emit during their shows.
CHØKE ØN THE ASHES ØF YØUR HATE and The Blood, The Sweat, The Tears followed the tone that was set from Imperium. With stunning riffs and kinetic energy behind the kit, the crowds shouting MACHINE F*CKING HEAD in between sets rose above and results in a grin from Robb.
Locust displays a huge power behind the musicianship from Matt’s drumming with a pace setting rhythm of double pedals that coincide with the beautiful melodics of guitars and lowly bassnotes.
Once kicked in, the guitars are in full force giving in to frenzied riff sections that match the pace of the drums to create an anthemic bridge to the song.
I adore this track and witnessing it’s power was mesmerising. With a burst of red confetti over the crowd, Machine Head know how to put on a killer show.
Heading the the Apex Stage, the final headliners of the weekend took to the stage with vocalist M Shadows in a balaclava and casually seating himself on a chair. Avenged Sevenfold showcased much of their newest album, Life Is But A Dream… in their set and though the newer tracks weren’t well known, this gave an eye opener on what to expect.
Game Over started as sombre noted strings melting into what was a total face melting roll out of riffs. M Shadows’ frantic barking into the mic twisted with the distorted riffs of Zacky and Synyster crashing through eachother gave a chaotic and frenzied mood to kick things off.
Afterlife made its way as a nostalgic moment early on in the set with the signature riffs and blasts of the kit from Brooks filling in the air that we all know Avenged Sevenfold best for.
“Are there any fathers here?” M Shadows asks the crowd.
“This is for all the fathers out there on fathers day.”
And witnessing this track this time around was pretty special. The familiar under harmonies trickle through the meaty over riffs that everyone loves of Hail To The King and looking around me, all the guys I can see that have children with them plus most of the men in general fist pumped the air shouting the lyrics back to the stage.
With a backdrop of burning buildings and an eye boggling show of lights, Avenged Sevenfold swept through some absolute bangers with new inputs of the choppy We Love You and after the technical difficulties through Nightmare, a totally encapsulating drum solo for Unholy Confessions more than made up for it.
Finishing on Cosmic threw some raw emotions into the crowd and gave a side of their head a realm of melancholy moods and powerful vocals. The guitars on this track are absolutely stunning.
Concluding this years Download Festival, I left with some memories that will stay with me for a long time. Though the line up wasn’t initially to everyone’s tastes this year, I’ve loved seeing this year take a step forward to some evolution of Download Festival.
Eyes open for next yeat’s line up!
Huge thanks to Darren at MetalPlanetMusic for this incredible opportunity for the second time, Pete Key for being a pleasure to work alongside, George and Gary at Devolution Magazine for sharing some of the Press experience with me and Jan, Caitlin, Marley and Carol and Danny for coming to my rescue in the mud!
Photography by Pete Key for MPM
Photography for Avenged Sevenfold by Andrew Whitten
Photography for Limp Bizkit by Danny Norton
Photography for Lord of the Lost by Todd Onyou
